Gratitude to Kevin / Buried On Mars for helping me get started with Streamyard. Thanks to the insightful Mr. Mars, and thanks to the perseverance of Mr. Books, today we accomplished a few goals:
Successfully test streamed with the one and only Aaron of the KMA on board, full video and audio, for the first time ever.
Cleared up some other issues when streaming with a co-host, such as mirrored images and working from a PC.
This test stream went on for an hour as our impromptu chat developed. We talked music, guitars, the Community, Covid, school, Paul Rudd, and Skip the Dishes. This little unofficial bonus episode is now available for you to watch below. But the significance is huge to me. Now I can have up to five additional co-hosts on future shows. The game has changed. The sky is the limit!
Thanks to Rob Daniels for this episode’s title! This week, I took a trip back to 1980 to discuss some 40 year old albums, in a little more depth than usual. We each chose three to reminisce on. There are dozens of critical albums we could have picked from that year, so we each chose three that we important to us on a personal level.
The stories flow like beer, and the laughter can be heard from one side of Ontario to the other. Join us as Mike mocks the Leafs and talks music.
Points of interest:
To start with some unboxings, go to 0:02:55 of the stream
The 1980 retrospective starts at 0:09:45 in the stream.
Attention: Geoff Stephen!! 0:14:00.
For the Back In Black shenanigans skip to 1:28:20.
There’s some audio lag on the latter part of the video; sorry about that. I hope you enjoy this chat as much as we did!
This is one of the CDs I inherited from my late Uncle Don Don. I always wanted the first Jackyl for two songs: “She Loves My Cock” and of course “The Lumberjack”. Now that I finally have it, I thought it would be fun to review it “live” on first listen. The first thing to notice is that all of the songs are under five minutes.
Jackyl, starring Jesse James Dupree on lead vocals and chainsaw, signed to Geffen at the tail end of the hard rock era in 1991. It wasn’t too late though as Jackyl scored a platinum with their 1992 self titled debut. Even though they never reached those heights again, Jackyl have continued on to the present day with relatively few lineup changes.
With a song called “She Loves My Cock”, you can probably understand why why K-Mart refused to stock this album. In protest, Jackyl filmed their video for opener “I Stand Alone” in a K-Mart parking lot. An AC/DC vibe is imminent, but Americanized with shout-along chorus. Dupree certainly has the Brian Johnson pitch and grit, as well as certain vocal inflections. Good track, solid groove, great catchy solos. The shouted bits are dated, but the song is otherwise pretty slick.
Then Jesse James starts squealing about a “Dirty Little Mind”, a sleazy rocker with more of the shouting, and then it gets really dirty. Not a classic in any universe, but it sounds like it would be fun singing along in a bar. A stuttery riff, like those popularized in the late 80s and early 90s, starts off “Down On Me”, catchy midtempo heaven with a soulful southern slant. Apparently “Down On Me” was their biggest charting hit, even surpassing “The Lumberjack” and “When Will It Rain”. I remember “When Will It Rain” from the music video, a darker and stormier concoction. It seems an unlikely single, but thus far it’s the most serious track. Certainly more serious than “Redneck Punk” which sounds like its name. Sped-up punk beats infused with a Dixieland vibes. And then as if to make the “redneck” point even further, it’s “The Lumberjack”. I love found objects in music as a general concept, and it’s awesome to hear a sleazy rock band like Jackyl executing such highbrow concepts, going as far as to play an actual chainsaw solo and still keeping it musical. The contrast of the highbrow with the brutally juvenile lyrics strides that ever-so-fine line between clever and stupid.
It sounds as if this would be a natural place for a side break, as “Reach For Me” has a completely different vibe. A choppy riff and dynamic verses really set up a cool song. Without missing a beat we’re on to “Back Off Brother”, a tough little number with a minimalist riff. “Brain Drain” has a slightly funky feel emphasized by the cowbell. Not an album highlight, but a strange cross between AC/DC and Def Leppard. Dupree expresses a clear preference for alcohol. “It’s not the ‘caine, not the Mary Jane, but the golden grain.” It’s good to know what you like. A slick one called “Just Like the Devil” starts to wind things up with a tough riff and speedy beat.
Finally and wisely the album ends on “She Loves My Cock”, the track that got them banned from K-Mart. There are clean versions of this CD available without the song, but what’s the point? This album without that song like like a sentence without the exclamation mark! The lyrics are not repeatable here but you can use your imagination. Fortunately there is a solid foundation to this heavy track to support the ridiculous words.
And that’s the album, thoroughly enjoyable with minimal filler. I could probably live without “Brain Drain” and “Dirty Little Mind”, but stuff like “Reach For Me” and “Down On Me” are like newly discovered treasure. A good album that stretches out just enough, but never exceeds its ambitions. Jackyl wants to be a party album with humour and balls, so that’s what it is. It couldn’t exist without AC/DC or gasoline-powered wood-cutting implements, and there are few albums you can say that about.
Cross Purposes catches a lot of crap from fans, and maybe it is the softest Sabbath, but it ain’t bad. The Tony Martin era was unfairly derided when he was the singer in Black Sabbath. “Only Ozzy or Ronnie — no Tony!” complained some fans. Well, we had Ronnie for Dehumanizer and that didn’t last. Tony Martin was probably always the backup plan in case things went south with Dio. It is said that Tony Martin recorded his own set of vocals for the Dehumanizer album in case Dio left abruptly. It wasn’t a surprise to anyone that Tony Iommi called up Martin when Dio did inevitably walk.
Ronnie brought drummer Vinny Appice with him, which meant Sabbath were replacing two members. In a genius move, Iommi snapped up ex-Rainbow heavy-hitter Bobby Rondinelli. Bassist Geezer Butler stayed put, but not without regrets. He would later say that he thought they were recording an album for a new band, but that Iommi decided to use the name Black Sabbath. This seems hard to believe given that Iommi always returned to the Sabbath name in the past.
Tony Martin & Bobby Rondinelli
Whatever the case may be, Cross Purposes was met with mixed reactions when it was released in 1994. While some welcomed the return of a classic sounding band, others called them irrelevant in the face of grunge. Indeed, Sabbath were accused of copying the style of Alice in Chains on “Virtual Death”, featuring a double tracked vocal similar to the Seattle band’s trademark sound.
True as that may be, there is no question that opener “I Witness” sounds like no band other than Black Sabbath. From Iommi’s squealing guitar shrieks to Geezer’s slinky bass, only one band sounds like this. Yes, on the surface Tony Martin sounds like Dio, but that sells him short. Dio has more grit, while Martin takes it smooth. “I Witness” is one of those blazingly fast Sabbath openers, and Rondinelli’s massive snare sound just kills it. I’ve always enjoyed how Black Sabbath worked their name into certain lyrics, like “Sabbath Bloody Sabbath”. Here, Tony Martin (an underrated lyricist) refers to the “pilgrims of Sabbocracy”, a word that doesn’t seem to exist outside the Black Sabbath pantheon.
Perhaps one of the biggest reasons this album was poorly received is that two of its best songs are ballads. People forget that Sabbath have many classic ballads — “Solitude”, “Changes” and “Born Again” come to mind. “Cross of Thorns” is a vocal workout for Martin that darkens the sky and shakes the seas. An acoustic riff begins the journey, but it transforms into something bigger and more dramatic. It also includes one of Iommi’s most memorable guitar solos from his entire career. Special mention goes to late keyboardist Geoff Nicholls who provides much atmosphere for this dark burner.
“Psychophobia” is an interesting song; not the most memorable but with a tricky riff that’ll get the heads banging. The middle section exactly halfway into the song is outstanding. It’s also a gas to hear Martin singing “It’s time to kiss the rainbow goodbye”. A sly jab at Dio? Fans will probably always see it that way. But then comes “Virtual Death”. Its possible grunge inspirations stick out like the sorest of thumbs on side one. This slow song drags too long. The whole “virtual reality” trend was well worn out by 1994, so that did not help matters much. Fortunately the first side redeems itself with a resounding closer called “Immaculate Deception”. The beguilement here is that the song seems like trudge at first, until Rondinelli puts it in turbo on the choruses.
Side two opens with the second ballad (more of a blues really) called “Dying For Love”. This is reminiscent of “Feels Good to Me” from the Tyr album. Interestingly, Geezer’s bassline sounds like the one Bob Daisley played on “The Shining” in 1987. (Geezer was around when “The Shining” was written, possibly under the name “No Way Out”.) It must be said that, as great as Tony Martin is on this song, it would have sounded out of this world had Dio sung it.
“Back to Eden” is a skipper. Nothing particular wrong with it, just not as good as other tracks. We resume on the single, “The Hand that Rocks the Cradle”. A keyboard opening gives way to a killer Iommi riff, one that sticks in your brain for days. Top it off with an excellent chorus and this track is a winner. Shame it never had a chance as a single. “Cardinal Sin”, like “Back to Eden”, isn’t much to talk about, though it does have a cool keyboard line.
The standard album ends on “Evil Eye”, a song that incredibly came about through an unlikely 1993 jam with Eddie Van Halen. Van Halen laid down a solo, but the band weren’t recording properly. According to Tony Martin, the Van Halen recording is simply too poor in quality to release. I don’t think fans would mind, but that is wishful thinking considering they couldn’t even give Eddie a writing credit due to contractual wranglings. This song just grinds, like a mountain over the aeons. Tony Martin wails on the chorus, and Tony Iommi lays down several minutes of guitar licks that may or not have been inspired by Van Halen’s original solos.
A big thanks must go out to Harrison the Mad Metal Man for locating this Japanese printing of Cross Purposes that you are looking at. A Sabbath collection that began in earnest back in 1992 was finally completed in 2020. The bonus track here is “What’s the Use”, a song that doesn’t quite sound like the rest of the album. The short choppy Iommi riff sounds more like Judas Priest than Sabbath, but it’s a welcome addition because it’s unlike the usual.
Had Cross Purposes come out under a different band name (something anonymously 90’s…like, I dunno, Carpet or something) with “Virtual Death” as the single, who knows what might have happened? Probably nothing, because just as there were too many glam rock acts in the late 80s, the 90s were choked to the gills with alterna-bands. A Japanese copy is expensive to come by, so don’t hesitate too much if you find a gently used domestic CD in the wild. The album is, of course, out of print.
Too exhausted to write after that white-knuckle drive home. I am disappointed that the camera footage doesn’t convey the sheer terror of 5-6 feet of visibility in near non-stop rain.
So this is what you get, no metal reviews today, just a video of the drive home set to music. After editing (I slowed the video down in some of the small towns so you could get a better look at rural Ontario) it came to be the exact length of a song that I can use called “A Beautiful Day” by Tempted Fate, a Raw M.E.A.T band. Contrary to the lyrics though, it was thankfully not a beautiful day to die and we made it home in one piece although exhaused from the effort.
Sunday was what we call an “indoor day” at the lake. This is what I did with my indoor day.
The video took me most of the day, because my poor old laptop (10, this year) couldn’t handle all of the large files at once. So I started over from scratch and figured out a workaround until I was done about 7 hours later. I cooked, I went outside, I played with action figures, and I drank coffee until it finally saved without errors.
This video should scratch itches for a variety of people including:
1) Max the Axe fans – the full song “Randy” is included.
2) Dr. Kathryn Ladano fans – the full song “Masked” is included.
3) Those who enjoy driving videos. This is my first extensive use of my dash cam.
4) Nature buffs. You will hear real lake noises, rainstorms, and waves. You will see more cool underwater footage from the beaches of Lake Huron, and the legendary Greatest Sunset in the World.
5) Marvel / action figure fans. Look for a special “Build A Figure” Hulk.
You will not get:
1) Audio of me singing “Kissing Time” by Kiss; this was lost with the first version of the video.
2) Any of my pork chops.
But you can freely:
1) Live vicariously through me and absorb the good vibes through your monitor and speakers.
While visitors showing up on our little private road was not unexpected on a long weekend, it is disappointing when they show such little respect for the people who live here. A guy parked his ATV on our grass and said “Don’t get your knickers in a bunch” when my mom asked several times for him to move it. This came after arguing that he had the right to park there due to a “snow allowance”. There is no such thing.
Then we had Kenny the fireworks guys shooting off a “truck bed” full of firepower at 9:30 Saturday night. That was…distracting. As much as I love this place it certainly has changed in the last 45 years. Enjoy the video — the good the bad and the ugly!
I’m not a fishing guy at all, but I have a lot of friends who enjoy it regularly. I saw this sticker on the back of a car and I had to take a photo. This one is for my fishing buddies!
That was intense! What follows is two hours of stories, friendship, music, hardship, music, childhood, Record Store Tales, music, and emotion. I don’t think I’ll be able to do a show like this one again. But I’m glad I did it and thank you for watching.
This episode may not be for everyone and I will warn you right from the start that there are some serious heavy, raw emotions about to outpour. This is your trigger warning. There is very little in this live stream that I have not written about in the past so if you have been reading Record Store Tales and Getting More Tale, then you’re all caught up anyway.
It has been a heck of a week here at LeBrain HQ and I can’t wait to tell you all about it. This week’s theme was suggested by Superdekes (I hope he doesn’t start sending me bills for all his ideas). I’m calling this one the Nostalgia Stream because, once again, we’re talking about the 80s. Music will be heavily involved, but what does that have to do with events of this week? You’ll find out tonight at 7:00 PM E.S.T.
There will be no lists, no notes. I’ll be freestyling it like I did the first couple shows, but all within the framework of this week’s theme. I’m really excited about this one. Expect the usual fun and frivolity, and hopefully lots of interaction. It’s the usual time and place at Facebook: Michael Ladano.
This has been a weird year. Comforting, nostalgic sounds in the age of Covid have dominated at LeBrain HQ. There are two Kiss albums that have been absolute joys this summer for blowing the blues away. They have been Dressed to Kill, and Unmasked. Originally rated 2.5/5 stars, I was definitely wrong on Unmasked. The band may have disowned it, and it might not be hard rock, but reviewing it is not as “Easy As It Seems”. This album definitely has “Two Side of the Coin”. It might not be “What Makes the World Go ‘Round” but this summer, I just want to say one thing to Kiss Unmasked: “You’re All That I Want”.
One reason I may have judged Unmasked harshly before is that first impressions are strongest. In a case of Classical Conditioning, my first impression was not good. In fact, for the first two years of hearing Unmasked, my copy was all but unlistenable. In the beginning, I taped my first Kiss albums from next door neighbour George. He fancied himself a bass player. While he was recording Unmasked for me, I sat in his bedroom while he played bass along to it. Every song. Unbeknownst to him, his bass bled onto my tape. Every time I played the album, it was like a remix with George overdubbed on bass, and I had the only copy. Sometimes he continued playing well after the fade, other times he came in prematurely. Either way, my first two formative years with this album were awful. Even after buying a proper copy on cassette, I couldn’t hear the album without the auditory illusion of George’s bass ringing in my skull. Though not the only factor, that had to be one of several reasons for my dislike of the album. A dislike which in no longer: in 2020, it’s love. Just a fun anecdote to colour in some history, nothing more.
“Is That You?” asks Paul Stanley on the opener, a Gerard McMahon song that boasts grinding verses and a killer chorus. Piano tinkles quietly in the background, but the guitars are nice and rich, especially Paul’s solo. His lead vocals absolutely rip, while a sultry Gene sings the backgrounds.
A second Paul vocal follows, and it’s the big hit “Shandi”. Listening with 20/20 hindsight in the year 2020, it’s amusing to ponder how anybody thought this was Peter Criss on drums. It was a secret that Anton Fig played on Unmasked and Dynasty, but it’s really obviously not Peter Criss. That disco groove is too impeccably perfect to be the Catman. Paul is, in fact, the only Kiss member to play on “Shandi”. And while this song is a softie, it ain’t a baddie. It’s clear that Kiss were not the rag-tag rock and roll beast they once were. They had evolved. Temporarily, at least.
If the first two tracks were light on Ace Frehley, that’s not indicative of the album. Three lead vocals for the Spaceman this time, including the single “Talk To Me”. Shiny and chromed-up, Frehley’s songs are among the best on Unmasked and “Talk To Me” could be the top track.
I always had problems with “Naked City”, but part of that might be that I can still hear George come in early on the bass. Gene Simmons makes his album vocal debut here, and while the chorus and riff are still not top-notch, the verses are excellent. Songs like this also demonstrate that Gene is an underrated singer. He’s more versatile than people realize.
Paul strikes a cool riff on “What Makes the World Go ‘Round”. He often talks about how the album had good songs, but they should have sounded different. This one sounds like it could have turned out more like the first three albums. You can imagine how the riff would have been more prominent. As it is though, it’s one of the most unabashedly catchy songs Paul’s ever written, and his guitar solo is simply delicious. You can slag Paul for doing something so pop, but can you slag him for doing it so well?
Side B’s opener is “Tomorrow”, with Paul’s vocals cleanly produced as per the pop trends of the day, with slapback delay and airy EQ. But like “What Makes the World Go ‘Round”, this is pop rock done really well. The keyboards are too prominent, but at least Ace gets a tasty solo here. As Kiss songs got catchier, so did the Spaceman’s solos. Frehley’s next lead vocal follows on “Two Sides of the Coin”, the song title which inspired a podcast (“Three Sides of the Coin“). Y’see, Ace just can’t pick a girl! But he has to. “Two sides of the coin to choose from, I’m getting weary. Which one should I choose? I need time.” He insists that the girls don’t mind, but I question that assertion. But he has to pick a mate because he’s “tired of all those dates”! Silly words aside, Ace has knocked out two top-notch songs on Unmasked so far.
Gene’s back on “She’s So European”, a song about a girl with a French accent who drinks pink champagne. I’ve softed my stance on this one too. You can certainly hear the rock n’ roll riffiness that it could have been. That’s been replaced by keyboards and slick beats, and it’s fine. “Easy As It Seems”, a Paul song, really sneaks up on you. It disappears into the fabric of the album until one day you just can’t get it out of your heard. Paul lays down another fine solo, and weaves a plaintive tapestry with his incredible voice. What range he had.
An album highlight is the third and final Frehley concoction — a weird little number called “Torpedo Girl”. Surf rock meets the Space Ace. The guitar lick is a tricky little off-beat riff, but with Anton Fig behind on drums, Kiss could do complex stuff like this. Especially since that’s Ace playing the bouncy bass part too. It’s also one of Frehley’s most entertaining lyrics. A submarine with a pretty girl on the bridge has surfaced in the bay! Better go check it out.
The final track, “You’re All That I Want” is a Gene number. Like “Easy As It Seems”, one day it just catches you. Especially Paul’s “answer” vocals in the outro. One thing (among many) that made Kiss truly special is the multiple lead singers. And unless you’re a Catman diehard, you don’t really miss Peter in that mix. Frehley more than made up for the lack of Criss. While four singers is better than three, remember that Kiss only had three lead singers for their first five studio albums.
I don’t want to have to three-view the entire Kiss catalogue but it is amazing how Unmasked just opened up to me this summer. I’m enjoying more than ever, with that nostalgic glow for days gone by. The “good old days” were not always good, but at least the music was.
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